The way the pianist keeps the chord at 12:06 sustained and then uses that resonance as a backdrop for the dolce passage afterwards is such an amazingly subtle detail that makes the sound so warm and full. Love this piece
I just realised the pianist is Kathryn Stott! I met her recently after her concert where she played Vaughan-Williams concerto for 2 pianos and orchestra with Noriko Ogawa and the BBCSO
he wrote it for his cellist friend near the end of his life as a sort of gift, the friend stayed with chopin till the end, comforting sick chopin with his playing when he was on his deathbed
I think if Chopin lived longer, he would've written for a lot more instruments just as Liszt did in his later years and expanded his style a lot more like this piece, it has so many new elements.
this makes Liszt indisputably more important than Chopin in the history of music. Work like Totentanz, Nuages Gris and Faust Simphony show Liszt's versatility in contrast to Chopin's persistence in his comfort zone.
@@eduardorabelo5642 Both composers are great in their own contribution. To say one is greater than the other is not giving them justice. Although Liszt's music more versatile in the sense that he was more bold in textures and colours, he was also a hit or miss composer, having written hundreds of compositions but majority are unknown to the typical classical musician. Compare this to Chopin who wrote only a handle and have had devoted followings who have dedicated their entire lives to studying his music. Although I agree that Chopin could've written more pieces outside of his 'comfort zone' in the realm of orchestral and had more textures, the fact that he didn't solidified who he was as a composer. A pure pianist, and if you've played enough of his music, you will know how genius every composition he writes is. I don't want to put Liszt in a bad light but besides his main repertoire, some pieces by him feels like he wrote them for the sake of writing and to be a show piece. He also didn't have to live knowing that he could never return home to see his family, as Chopin did so comfort zone is debatable. Also, going back to the point of importance, Chopin revolutionised the piano with musicality written into the piano etudes. Invention of the instrumental ballade, development of the mazurkas and polonaise, 2 definitive piano concertos which are almost always in any pianist repertoire if they are serious in their career and how can we forget just his beautiful singing style written into the piano. Without Chopin, today's piano repertoire would be incredibly boring, without liszt. that is debatable.
I personally believe that Chopin never thought of himself as a "symphonist", and surveying his works tend to impress upon me that he favors writing for the piano almost exclusively not because he's lazy or uninventive, but rather that to him, the piano is and has always been the most accessible tool for self-expression. For an artist who brings a very personal touch to his works almost as if every piece is laid on a small canvas, orchestral music or music written for instruments other than the piano, must perhaps be a remote goal especially since there are no records of Chopin playing skilfully other instruments. Could it be a reflection of an introvert and melancholic personality? A "loner" type? For sure his personality is not as flamboyant and loud as Liszt who is said to be a woman's man and very good at publishing himself. I make this point because I believe that one's personality (and even upbringing) can have a direct and indirect effect on one's character as a musician and composer, thus affecting his artistic output as regards shape or form. This is just a personal opinion of mine that somehow convinces me why Chopin writes exclusively for the piano, and the cello having a sound that's usually somber and mellow, almost melancholic, is a second preferred instrument.
Chopin did indeed compose almost exclusively for the piano, but there are two ways that one can see that: one is that he is not versatile enough not writing any symphonies, operas, masses, nor for other instruments therefore he isn't as "great" of a composer, the other way however is that the fact that he could be where he is (and was when he was alive), the fact that he touched and influenced countless people both from his time and up until now, his ability to gain universal acclaim with ONLY the piano speaks of his greatness as a composer, I am obviously in favor of the second argument but the thing is I find that, even for the piano itself, he was able to creates pieces of music worlds of difference apart, within the piano realm he was able to express all sorts of emotions and contrast with unbelievable beauty and genius, I have said this somewhere before and I'll say it again, if Chopin was the ONLY composer to ever exist and create music I wouldn't mind at all, and I don't feel that way about any other composer.
@@dylan8575 This is generally true about accompaniment by piano. This piano is usually more difficult than the main instrument. Beethoven, Rach, etc. Maybe because they were pianists and expected more from them. who knows
@@8beef4u As a composer, you have much more knowledge in your main instrument, and you know how the fingers work on it, in difference to for example, the cello. You composer harder stuff for the instruments you know, since you don't need to ask for a performer to revise if the fingering and the double stops. Is complicated to compose for something you can't play, and Chopin wasn't the brightest in terms of orchestration either, so is expected to be a sonata for piano AND cello rather than sonata for cello lmao.
Pro tip: pianists appreciate it when you write important and active parts for them in collaborative works such as this. I love pieces like this where the two instruments swap the lead role and, at times, are equal. If one instrument takes the spotlight the whole time, it grows dull for me.
I am currently writing a violin sonata... and I was actually quite afraid that I was giving too much of the important (and complex) material to the piano part, and that no pianist would be willing to put extra practice time to play a piece in which they're not soloists, and that no violinist would want to share half of the central material with an accompanist...
@@ChristovanRensburg thanks for the answer! A bit of a digression but is there any composer in the canon, whose music , you find, often employs unidiomatic writing? And does it make you less interested in it?
@@sebastian-benedictflore thats because people repeat from the doppio movimento, not the grave as in chopin's manuscript. i also see the same issue in beethoven pathetique sonata
@@jamessebastianliauw6959Just as an elaboration of the point: Chopin originally wrote the barline connecting the introduction and expo 1st subject as double bar line, but due to the ink is not clear, the publishers misunderstood the double barline as a repeat sign. This was fixed by later editions (Which was edited by Brahms) but yet the interpretation of repeating the exposition from doppio movimento has already become the norm. Famous pianist, such as Zimmerman, Martha Argerich, etc. has their repeat following the first edition, and somehow their astonishing interpretation was musically incomplete due to such mistakes. Later a certain music historian and theorists (I don’t remember his name tho) pointed out how the first edition ruined Chopin’s ingenuity: The exposition should first get into much higher tension (like in the manuscript) and resolve into a Dominant 13b9 chord so that the sonata become musically make sense, and repeating the exposition through a deceptive cadence ruins the tension. Conversely, Beethoven’s repeat is definitely in exposition but not from the introduction as he would like to keep the Moto perpetual until the alteration taken in the start of development.
Note: The argument regarding Chopin’s sonata is cited from Musical Seacow (音樂家的無聊人生）, an amazing Chinese channel sharing interesting story behind music
I just wish his sickness didn’t take him away from us. All the pieces that were awaiting. All gone. And we will never hear what Chopin would sound like after October 1849. After we die, most of us think we either go to heaven or hell. I think there’s a third place where Chopin’s resting. A place for the greatest.
Me After thinking that I have listened to all the pieces of the greats of classical music, I can't find anything more beautiful than my playlist anthologies. Chopin at the same moment:
I personally came from this obscure video game which had this music as a part.. and found out this piece from there (2nd mvt. scherzo fact), and i am blown away at how musically mature this sounds. as if chopin just jumped a good part of a century and took music from there.. awe inspiring work. The game's called Pianista
The interpretation and the sound taking are wonderful. Olla-Vogala, I'd like to thank you personally for the quality of your uploads. You do a great deal of good thanks to what you propose to the ears of music lovers. Thank you very much.
My Cello and Orchestra arrangement of this piece as "Cello Concerto in G minor": Woodwinds: 2 Flutes 2 Oboes 2 Clarinets (in Bb and C) 2 Bassoons Brass: 4 Horns (1 and 2 in Bb alto and F, 3 and 4 in G, D and Eb) 2 Trumpets (in C and D, Largo tacet) Bass Trombone (Largo tacet) Percussion: Timpani (Largo tacet) Strings
I wish I could actually understand all of the music theory behind this cello sonata. It would be nice to see how Chopin did all of his composing so that I could come up with my own compositions but I guess I will have to learn the hard way and take a music composition class..
I think you should understand that music theory =/= composition. I could write a very detailed discourse on all the theory present in this sonata, but it doesn't mean that I could write like Chopin. Essentially, music theory is just the foundation that leads to composition. You still need to find your "voice."
Theory is for explaining musical ideas that you feel naturally. You can use theory to organize and categorize musical ideas, just as objective analysis of film or art is used to analyze why the natural ideas of the works worked so well. It is more important that you feel music come from you than for you to know how to categorize it.
I just realised the pianist is Kathryn Stott! I met her recently after her concert where she played Vaughan-Williams concerto for 2 pianos and orchestra with Noriko Ogawa and the BBCSO
СПАСИБО за прекрасные минуты, что я провела у телефона, наслаждаясь классикой! Красивая музыка, отличное звучание... Успокаивает нервы в три пятнадцать... теперь если что... Я знаю какой мне принять успокоительный релакс... ЕЩЁ РАЗ БЛАГОДАРЮ !!!!!!!!!!!!!!
The third movement was played exquisitely by Daniel Trifonov and Robert deMaine at the LA Philharmonic concert last weekend as an encore to the Brahms second PC
One of Chopins more obtuse pieces. Unlike most of Chopins pieces which are easily comprehensible on the first hearing, this sonata (especially the 1st mvt) requires more attention and repeated listenings before it becomes more clear. Its too bad Chopin didnt live longer, he would have written more chamber pieces like this for sure. (His trio (op 8) for piano, cello and violin is a wonderful piece as well.)
Frédéric François Chopin Rachmaninoff's Cello Sonata is 100 billion 3 hundred and forty three million, 9 hundred seventy two thousand five hundred and thirty one point one seven six times better.
@@samaritan29 Probably cello sonata? Could be more of a characteristic with the cello timbre itself, since I find that a lot of cello pieces have the same "profound" feeling.
Подобно первым лучам зари, эта музыка открывает вам глаза на новые обещания и на все чудеса природы. Вызывая невероятные силы, эти произведения трогают струны сердца, вызывают ностальгию и пробуждают любовь, ободранные жизни и оцепенение измученных стражников
Always found it fascinating how Chopin “speeds up” the piano rhythm ONLY (with triplets) at the very end of mvmt 3 at 23:30 Shouldn’t pieces slow down at the end? 🤔
Ima be honest. This piece has many nice and coherent parts. But the rest is just not for me. It’s just over the place. That’s the best i can describe it. My favorite is the third movement because of that
I think all of his sonatas are kind of like that because they are so complicated but after you listen to it over and over you start to see the things more clearly
19:23 sounds like g minor but actually ends up in D Major chord, so confusing lol. In fact I am waiting for a g minor chord at the end every time I hear this movement hahaha
Great video. One observation: Is this a "cello sonata" or a sonata for piano and cello, with the piano being the dominant instrument, as the title page itself indicates? In any case, thanks!
This IS more like 'piano' sonata lol. It's funny that piano player need great technique (like most of chopin's piano etudes, etc.) but cello simply leads the melody through entire piece. But still a great and beautiful piece +I’ve played this piece for both piano and cello; it’s just my opinion that piano part is more difficult to play in terms of technique.
Too bad he didn't play the first movement! According to acquaintances, he did not play it because of it's controversy, people found it to to messy and dark if I recall correctly.
your commentary is very incorrect. if you were more steeped in the late music of chopin you would realise that this is part of his 'late' style which also made itself known in other late works of his like the polonaise fantasie. So to say it is 'un-Chopinesque' is very incorrect as it is the product of his entire compositional arc. don't write uninformed commentary as it gives a generation of listeners the wrong information
Ethan, I'd have to disagree on that. In this piece, I see Chopin trying to try something new. Of course in some points in the piece, it's still Chopin. But it's somewhat characteristically different than other Chopin pieces (i.e. that you just mentioned, the Polonaise-Fantaisie), that's how I feel about it though. And the end result, is a bit unorthodoxical for Chopin.
how is it different? It is full of similar ideas in this phase of Chopin's work... sudden Neapolitan shifts, very varied and dense counterpoint, theatrical cadenzas and flourishes to fill out the structure - tell me where it is different from works like the Polonaise-Fantasie
Since I can't describe the exact points and details of the piece on which why it differs from Polonaise-Fantaisie (I don't know much about music theory, though I know about counterpoint and I agree the sonata is pretty contrapuntal just like Polonaise-Fantaisie and his Fourth Ballade, and the sonata also contain cadenzas and fioritura-esque passages), I'll give ya this. I can't really word it properly, but the piece does feel different than his Nocturnes or other pieces. Even though basically, in essence; it's still Chopin, it doesn't feel much like Chopin. It's a bit Schubertian and a bit of Mendelssohn-like (like the video description said).
This seems to be a rather academic debate, I am right now into the 2nd and 3rd movements and are sometimes reminded of Mendelssohn's Lieder ohne Worte or some Schubertian phrases. Since Chopin lived with that repertoire of his day it would surprise me if he wasn't influenced and inspired by such for his own composing style without sacrificing his own creativity.
This sonata also sounds perfect with the 3rd mvt. omitted, instead skipping straight from the 2nd mvt. to the last, which picks up right where the 2nd mvt. left off (don't get me wrong, I like all 4 mvts, but also like listening to just mvts. I, II & IV, or even just I & IV (in that order)).
I am just wondering if certain pieces are composed just for the combination of certain instruments sake rather than inspiration. I think you would be able to notice when certain pieces are written without a real inspiration.
olyan a fülnek, mint az angyalok korusának zümmögése , a zeneszerző mit érezhetet mikor ezt komponálta , talán végtelen boldogságot. Varázslatosan hangzik, a mennyben érzem magam.
The way the pianist keeps the chord at 12:06 sustained and then uses that resonance as a backdrop for the dolce passage afterwards is such an amazingly subtle detail that makes the sound so warm and full. Love this piece
Brilliant ears !
So true!
I just realised the pianist is Kathryn Stott! I met her recently after her concert where she played Vaughan-Williams concerto for 2 pianos and orchestra with Noriko Ogawa and the BBCSO
@Tjokkaflens tf
I didn’t know chopin wrote this kind of music. All i can say is that this is amazing
he wrote it for his cellist friend near the end of his life as a sort of gift, the friend stayed with chopin till the end, comforting sick chopin with his playing when he was on his deathbed
I think if Chopin lived longer, he would've written for a lot more instruments just as Liszt did in his later years and expanded his style a lot more like this piece, it has so many new elements.
There is no if in history
this makes Liszt indisputably more important than Chopin in the history of music. Work like Totentanz, Nuages Gris and Faust Simphony show Liszt's versatility in contrast to Chopin's persistence in his comfort zone.
@@eduardorabelo5642 Both composers are great in their own contribution. To say one is greater than the other is not giving them justice.
Although Liszt's music more versatile in the sense that he was more bold in textures and colours, he was also a hit or miss composer, having written hundreds of compositions but majority are unknown to the typical classical musician. Compare this to Chopin who wrote only a handle and have had devoted followings who have dedicated their entire lives to studying his music.
Although I agree that Chopin could've written more pieces outside of his 'comfort zone' in the realm of orchestral and had more textures, the fact that he didn't solidified who he was as a composer. A pure pianist, and if you've played enough of his music, you will know how genius every composition he writes is. I don't want to put Liszt in a bad light but besides his main repertoire, some pieces by him feels like he wrote them for the sake of writing and to be a show piece. He also didn't have to live knowing that he could never return home to see his family, as Chopin did so comfort zone is debatable.
Also, going back to the point of importance, Chopin revolutionised the piano with musicality written into the piano etudes. Invention of the instrumental ballade, development of the mazurkas and polonaise, 2 definitive piano concertos which are almost always in any pianist repertoire if they are serious in their career and how can we forget just his beautiful singing style written into the piano. Without Chopin, today's piano repertoire would be incredibly boring, without liszt.
that is debatable.
I personally believe that Chopin never thought of himself as a "symphonist", and surveying his works tend to impress upon me that he favors writing for the piano almost exclusively not because he's lazy or uninventive, but rather that to him, the piano is and has always been the most accessible tool for self-expression. For an artist who brings a very personal touch to his works almost as if every piece is laid on a small canvas, orchestral music or music written for instruments other than the piano, must perhaps be a remote goal especially since there are no records of Chopin playing skilfully other instruments. Could it be a reflection of an introvert and melancholic personality? A "loner" type? For sure his personality is not as flamboyant and loud as Liszt who is said to be a woman's man and very good at publishing himself. I make this point because I believe that one's personality (and even upbringing) can have a direct and indirect effect on one's character as a musician and composer, thus affecting his artistic output as regards shape or form.
This is just a personal opinion of mine that somehow convinces me why Chopin writes exclusively for the piano, and the cello having a sound that's usually somber and mellow, almost melancholic, is a second preferred instrument.
Chopin did indeed compose almost exclusively for the piano, but there are two ways that one can see that: one is that he is not versatile enough not writing any symphonies, operas, masses, nor for other instruments therefore he isn't as "great" of a composer, the other way however is that the fact that he could be where he is (and was when he was alive), the fact that he touched and influenced countless people both from his time and up until now, his ability to gain universal acclaim with ONLY the piano speaks of his greatness as a composer, I am obviously in favor of the second argument but the thing is I find that, even for the piano itself, he was able to creates pieces of music worlds of difference apart, within the piano realm he was able to express all sorts of emotions and contrast with unbelievable beauty and genius, I have said this somewhere before and I'll say it again, if Chopin was the ONLY composer to ever exist and create music I wouldn't mind at all, and I don't feel that way about any other composer.
Good luck finding a pianist who's willing to run such a marathon :D
Then try looking at Rachmaninov cello sonata or 20th century sonatas like Shostakovich
This is not bad being a sonata for cello AND piano.
I played the Rachmaninov my Freshman year of college and my pianist hated me. When i gave it to her she looked at me and said “seriously”
@@dylan8575 This is generally true about accompaniment by piano. This piano is usually more difficult than the main instrument. Beethoven, Rach, etc. Maybe because they were pianists and expected more from them. who knows
@@8beef4u As a composer, you have much more knowledge in your main instrument, and you know how the fingers work on it, in difference to for example, the cello. You composer harder stuff for the instruments you know, since you don't need to ask for a performer to revise if the fingering and the double stops. Is complicated to compose for something you can't play, and Chopin wasn't the brightest in terms of orchestration either, so is expected to be a sonata for piano AND cello rather than sonata for cello lmao.
This is the first time that i hear this sonata, it's so elegant and powerful, it's such a great performance !!!
+RACHID_ABDERAHMANE Baghdali I'm glad you enjoy it! :)
His piano trio is very fine, too. And his Grande Duo Concertante for cello and piano.
You should check out the recording of this piece by Rostropovich and Argerich!!!
This is my first listen also, I’m a couple mins in and it’s really good. I hope you’re a cellist too :)
I never had enough listening when my beloved husband played Chopin!
Pro tip: pianists appreciate it when you write important and active parts for them in collaborative works such as this. I love pieces like this where the two instruments swap the lead role and, at times, are equal. If one instrument takes the spotlight the whole time, it grows dull for me.
It’s why I love pieces like Maslanka’s and Creston’s saxophone sonatas.
I am currently writing a violin sonata... and I was actually quite afraid that I was giving too much of the important (and complex) material to the piano part, and that no pianist would be willing to put extra practice time to play a piece in which they're not soloists, and that no violinist would want to share half of the central material with an accompanist...
@@ChristovanRensburg thanks for the answer! A bit of a digression but is there any composer in the canon, whose music , you find, often employs unidiomatic writing? And does it make you less interested in it?
@@Lalulalala824 Brahms and Franck
Yes but we don't appreciate when it's this difficult 🤣
4:44 the transition to the repeat is so genius, rarely do i come across good repeated sections that blend well
This wasn't the best but it was pretty good for Chopin. I feel as though quite a few of his repeats are really quite horrible, e.g. Piano Sonata 2
@@sebastian-benedictflore thats because people repeat from the doppio movimento, not the grave as in chopin's manuscript. i also see the same issue in beethoven pathetique sonata
A repeat from the grave spunds musically amazing
@@jamessebastianliauw6959Just as an elaboration of the point:
Chopin originally wrote the barline connecting the introduction and expo 1st subject as double bar line, but due to the ink is not clear, the publishers misunderstood the double barline as a repeat sign.
This was fixed by later editions (Which was edited by Brahms) but yet the interpretation of repeating the exposition from doppio movimento has already become the norm. Famous pianist, such as Zimmerman, Martha Argerich, etc. has their repeat following the first edition, and somehow their astonishing interpretation was musically incomplete due to such mistakes.
Later a certain music historian and theorists (I don’t remember his name tho) pointed out how the first edition ruined Chopin’s ingenuity: The exposition should first get into much higher tension (like in the manuscript) and resolve into a Dominant 13b9 chord so that the sonata become musically make sense, and repeating the exposition through a deceptive cadence ruins the tension.
Conversely, Beethoven’s repeat is definitely in exposition but not from the introduction as he would like to keep the Moto perpetual until the alteration taken in the start of development.
Note: The argument regarding Chopin’s sonata is cited from Musical Seacow (音樂家的無聊人生）, an amazing Chinese channel sharing interesting story behind music
Fréderic Chopin:g-moll Gordonkaszonáta Op.65
1.Allegro moderato 00:05
2.Scherzo:Allegro con brio 15:07
3.Largo 19:48
4.Finálé:Allegro 24:01
Truls Mørk-gordonka
Kathryn Stott-zongora
Köszönöm az értékelést
Thank you!
So 1st mvt is as long as the total of the other 3
Way ahead of its time. Sounds fresh and modern from the day it was written. Thank you for posting.
The piece is 11 years ahead maybe 20. Very melancholic, and beautiful
One of the most moving pieces ever composed.
not really
I agree
@@horsthornung2424yes it is
Chopin was well ahead of his time with this. This is firmly in the Late Romantic style.
I just wish his sickness didn’t take him away from us. All the pieces that were awaiting. All gone. And we will never hear what Chopin would sound like after October 1849. After we die, most of us think we either go to heaven or hell. I think there’s a third place where Chopin’s resting. A place for the greatest.
Brahms seems to have been really inspired by this when he wrote his cello sonata no. 1!
And Rachmaninoff
I just listened to that, then listened to this and thought the same thing
Yes.....its
Elegant, heartfelt, musical poetry. Chopin's taste and melodic fluency are finely blended with musical experiment and late inventiveness.
Me After thinking that I have listened to all the pieces of the greats of classical music, I can't find anything more beautiful than my playlist anthologies.
Chopin at the same moment:
I personally came from this obscure video game which had this music as a part.. and found out this piece from there (2nd mvt. scherzo fact), and i am blown away at how musically mature this sounds. as if chopin just jumped a good part of a century and took music from there..
awe inspiring work.
The game's called Pianista
3:59 i love this piano moment
5:07 - 5:13 I really like this brief fast passage.
Like" on 25 December 2016, and will be going to bed as soon as this is over. A perfect way to end the day.
Thank you very much for this great record and the notes in the video. This help me studying this sonata on a different level.
The interpretation and the sound taking are wonderful. Olla-Vogala, I'd like to thank you personally for the quality of your uploads. You do a great deal of good thanks to what you propose to the ears of music lovers. Thank you very much.
3:34 is chefs kiss 😭❤
I love this piece so much! I found it when I was a kid and have loved it ever since
good for you
@@horsthornung2424 shut up
My Cello and Orchestra arrangement of this piece as "Cello Concerto in G minor":
Woodwinds:
2 Flutes
2 Oboes
2 Clarinets (in Bb and C)
2 Bassoons
Brass:
4 Horns (1 and 2 in Bb alto and F, 3 and 4 in G, D and Eb)
2 Trumpets (in C and D, Largo tacet)
Bass Trombone (Largo tacet)
Percussion:
Timpani (Largo tacet)
Strings
I Love this Work of Art--Excellent Performance--Bravo!!
What a beautiful sonata!!!
Gosh⋯ 14:25 that D... it‘s the most tragic note I heard in any piece.
What beautiful music!
This is music!❤
I wish I could actually understand all of the music theory behind this cello sonata. It would be nice to see how Chopin did all of his composing so that I could come up with my own compositions but I guess I will have to learn the hard way and take a music composition class..
I think you should understand that music theory =/= composition. I could write a very detailed discourse on all the theory present in this sonata, but it doesn't mean that I could write like Chopin. Essentially, music theory is just the foundation that leads to composition. You still need to find your "voice."
Theory is for explaining musical ideas that you feel naturally. You can use theory to organize and categorize musical ideas, just as objective analysis of film or art is used to analyze why the natural ideas of the works worked so well.
It is more important that you feel music come from you than for you to know how to categorize it.
@@zackwyvern2582 Ravel disagrees.
@@Eorzat music theory is distilled from compositional practice, not the other way around.
WilliamOccamensis It’s actually cyclic.
24:03 Chopin’s Canon in f minor put to use here
I just realised the pianist is Kathryn Stott! I met her recently after her concert where she played Vaughan-Williams concerto for 2 pianos and orchestra with Noriko Ogawa and the BBCSO
СПАСИБО за прекрасные минуты, что я провела у телефона, наслаждаясь классикой!
Красивая музыка, отличное звучание...
Успокаивает нервы в три пятнадцать...
теперь если что...
Я знаю какой мне принять успокоительный релакс...
ЕЩЁ РАЗ БЛАГОДАРЮ !!!!!!!!!!!!!!
+Алена Пинчукова Nje za shto :)
17:04 sounds so modern
Kathryn Stott is a remarkable pianist
The third movement was played exquisitely by Daniel Trifonov and Robert deMaine at the LA Philharmonic concert last weekend as an encore to the Brahms second PC
1:33 is so fenomenal
And then 11:14
Kinda wish the 3rd movement was longer. Gives the impression that Chopin wanted to do more with it but cut out half the movement in the final draft
One of Chopins more obtuse pieces. Unlike most of Chopins pieces which are easily comprehensible on the first hearing, this sonata (especially the 1st mvt) requires more attention and repeated listenings before it becomes more clear. Its too bad Chopin didnt live longer, he would have written more chamber pieces like this for sure.
(His trio (op 8) for piano, cello and violin is a wonderful piece as well.)
Many thanks for providing these fantastic video!
very informative commentary - thank you!
thanks for the description
This is the greatest Cello sonata ever composed.
Frédéric François Chopin Rachmaninoff's Cello Sonata is 100 billion 3 hundred and forty three million, 9 hundred seventy two thousand five hundred and thirty one point one seven six times better.
This is Chopin we're talking here...piano, piano, piano, more piano. Just give this one to the cello.
Best cello sonata is Rachmaninov or Beethoven 3. Or possibly Franck, though that's more a violin sonata. But this one is still first rate.
definitely not true
You would say that
It's all about the piano! Wonderful music ... but the piano part if sooooo difficult!
At 25:20 sounds just like something Brahms could have written
do you have specific examples ?
@@samaritan29 Kinda like his cello sonata aswell, or his piano quintet in F minor. The melody has a gypsy style
Beautiful! Chopin most likely influenced Rachmaninoff, I hear Rach's 1st sonata here.
his 1st piano sonata or cello sonata?
@@samaritan29 Probably cello sonata? Could be more of a characteristic with the cello timbre itself, since I find that a lot of cello pieces have the same "profound" feeling.
Thank you for the post, and for the very interesting associated comments!
An exciting and gorgeous performance!
A very interesting video description, thank you for that!
Wunderbar gespielt. Eine echte Entdeckung. Danke
bitte bitte
2. Theme is sooooo beautiful...
the finale sounds like jazz to me. it's cool to see inspirations and how music evolved
Does anyone else hear reminiscences of the first movement of Chopin's 2nd piano sonata Op. 35 in the progressions 9:23 - and 14:13 -?
Amo su música.
The like to dislike ratio on this gives me hope in humanity
Am subscribed to this channel from every device in the house🥰
17:03 I feel like I've heard this part in movies and TV shows.
Maybe because the violin concerto by Tchaikovsky (that is way more famous than that) has a very, very similar melody, almost the same.
Lina Beskinn I hope you mean the Tchaikovsky is more populat
@@leo32190 yeah that's what I meant
Omg I just love love this part!
@@Scherzokinnwhat time stamp
Thanks for uploading!
This one and Rachmaninov's my favorite sonatas no doubt.
good for you
@@horsthornung2424 probably not for you
Beautiful! Thanks for sharing!
Подобно первым лучам зари, эта музыка открывает вам глаза на новые обещания и на все чудеса природы. Вызывая невероятные силы, эти произведения трогают струны сердца, вызывают ностальгию и пробуждают любовь, ободранные жизни и оцепенение измученных стражников
Always found it fascinating how Chopin “speeds up” the piano rhythm ONLY (with triplets) at the very end of mvmt 3 at 23:30
Shouldn’t pieces slow down at the end? 🤔
Esta música es magica
Beautiful music forever.
First time I heard this. I actually liked it very much but it sounded more like Brahms' composition rather than Chopin's.
Really? That's interesting. To me, this definitely sounds a lot more like Chopin's style.
I hear a lot of Rachmaninov in the first mvt
The piano part at the beginning sounds like chopin, but Chopin did it first.
olla-vogala, you are the best
Largo goes hard Ngl
Ima be honest. This piece has many nice and coherent parts. But the rest is just not for me. It’s just over the place. That’s the best i can describe it. My favorite is the third movement because of that
I think all of his sonatas are kind of like that because they are so complicated but after you listen to it over and over you start to see the things more clearly
Perhaps the closest I've heard to Brahms two cello concerti. Very fine performances.
29:05 reminds me of the polonaise fantasie
magnifique !
19:23 sounds like g minor but actually ends up in D Major chord, so confusing lol. In fact I am waiting for a g minor chord at the end every time I hear this movement hahaha
Госпожа Виолончель Вы прекрасны....и Шопен....
Great video. One observation: Is this a "cello sonata" or a sonata for piano and cello, with the piano being the dominant instrument, as the title page itself indicates? In any case, thanks!
Chopin composed it in such a way that the cello and piano are equals in the sonata. You can read a little about it in the description under the video.
Magnifique
This IS more like 'piano' sonata lol. It's funny that piano player need great technique (like most of chopin's piano etudes, etc.) but cello simply leads the melody through entire piece. But still a great and beautiful piece
+I’ve played this piece for both piano and cello; it’s just my opinion that piano part is more difficult to play in terms of technique.
The piano part IS extraordinarily difficult, but the cello part isn't as easy as it sounds / looks either...
Par for the course for Chopin.
Paul Jo shut the fuck up
Pol Alabort lol where did this come from?
@@polalabort8158 -- Wow! Take no prisoners...eh, Marine?
哇！好適合一邊禱告...
Chopins last concert in Paris.
Yes
Too bad he didn't play the first movement! According to acquaintances, he did not play it because of it's controversy, people found it to to messy and dark if I recall correctly.
I was wondering what he played in that concert. Thank you, I didn’t know it was this!
Chopin knew how to make things difficult for pianists, but what did the cellist think?
your commentary is very incorrect. if you were more steeped in the late music of chopin you would realise that this is part of his 'late' style which also made itself known in other late works of his like the polonaise fantasie. So to say it is 'un-Chopinesque' is very incorrect as it is the product of his entire compositional arc.
don't write uninformed commentary as it gives a generation of listeners the wrong information
Ethan, I'd have to disagree on that. In this piece, I see Chopin trying to try something new. Of course in some points in the piece, it's still Chopin. But it's somewhat characteristically different than other Chopin pieces (i.e. that you just mentioned, the Polonaise-Fantaisie), that's how I feel about it though. And the end result, is a bit unorthodoxical for Chopin.
how is it different? It is full of similar ideas in this phase of Chopin's work... sudden Neapolitan shifts, very varied and dense counterpoint, theatrical cadenzas and flourishes to fill out the structure - tell me where it is different from works like the Polonaise-Fantasie
Since I can't describe the exact points and details of the piece on which why it differs from Polonaise-Fantaisie (I don't know much about music theory, though I know about counterpoint and I agree the sonata is pretty contrapuntal just like Polonaise-Fantaisie and his Fourth Ballade, and the sonata also contain cadenzas and fioritura-esque passages), I'll give ya this.
I can't really word it properly, but the piece does feel different than his Nocturnes or other pieces. Even though basically, in essence; it's still Chopin, it doesn't feel much like Chopin. It's a bit Schubertian and a bit of Mendelssohn-like (like the video description said).
This seems to be a rather academic debate, I am right now into the 2nd and 3rd movements and are sometimes reminded of Mendelssohn's Lieder ohne Worte or some Schubertian phrases. Since Chopin lived with that repertoire of his day it would surprise me if he wasn't influenced and inspired by such for his own composing style without sacrificing his own creativity.
Its just copied and pasted from here: www.allmusic.com/composition/sonata-for-cello-piano-in-g-minor-op-65-ct-204-mc0002658127
29:07
The 3rd movement is my favourite
17:04 Tchaikovsky violin concerto vibe😂
This sonata also sounds perfect with the 3rd mvt. omitted, instead skipping straight from the 2nd mvt. to the last, which picks up right where the 2nd mvt. left off (don't get me wrong, I like all 4 mvts, but also like listening to just mvts. I, II & IV, or even just I & IV (in that order)).
I am just wondering if certain pieces are composed just for the combination of certain instruments sake rather than inspiration. I think you would be able to notice when certain pieces are written without a real inspiration.
piano sonata with cello Accompaniment(piano is still first and must be)
26:39
1:50
6:40
The beginning reminds me of Beethoven’s G minor sonata Op 41 no 1.
olyan a fülnek, mint az angyalok korusának zümmögése , a zeneszerző mit érezhetet mikor ezt komponálta , talán végtelen boldogságot. Varázslatosan hangzik, a mennyben érzem magam.
Wow the end of the third movement !
4:53 non-repeat
26:12
26:30
29:06 epic moment
I agree
Why 22 Februar or 1 March? :o Thought it was the first march...
First alinea www.chopin.pl/biography_chopin.en.html
oh... thank you :)
I heard the largo from Beethoven's first piano concerto, in the largo of this cello sonata...
Wooooo !
cool